Today, SAG issued the below statement denying media reports (not mine) that it had rejected the AMPTP’s “last best final” offer. Also, I’ve just learned that the big actors guild has signed guaranteed completion contracts with over 500 independent productions unaffiliated with the AMPTP, while the Hollywood CEOs continue their de facto lockout by refusing to return to normal production even though SAG has said it has no plans for a strike authoritzation vote. Meanwhile, it came out today that the AMPTP threatened SAG at the end of yesterday’s session. I would have reported this, but the Big Media cartel’s negotiating group admitted saw fit to distribute transcripts of exec VP Carol Lombardini’s closing remarks to only what it considered friendly media outlets — the trades have it here and here — and not to me. The trades called it a “warning”: but it was a clear threat.

UPDATE:*After getting hammered over this news blackout attempt against me, the AMPTP tonight apologized “because your site is a central hub for negotiation news”. Once again, this shows what a rogue group the AMPTP has become and how the Hollywood CEOs need to tighten their leash on it and get back to being personally involved in the negotiations themselves.*

I have dutifully posted every AMPTP statement about the SAG negotiations which the Big Media clique has sent me. Tonight, I emailed all the moguls and their corporate flacks to complain about this gross manipulation of information about Hollywood labor negotiations. This AMPTP news blackout against me never happened even through the bitter WGA strike. But the coverage of the SAG-AMPTP bargaining has been even more slanted towards the AMPTP than during the WGA strike by these media dependent on studio and network advertising. Today’s trade headlines, for instance, accused SAG of rejecting the AMPTP’s offer when in fact SAG delivered a full counter-proposal. Another story today in Variety accused SAG of stalling the talks when in fact it is the AMPTP’s turn now to respond to SAG’s offer.

All I can think is that the cartel is really starting to sweat now. Lombardini is the same ultra-hardliner who issued that disgusting ultimatum to the WGA during the writers strike and is understandably loathed by a wide range of Hollywood guild negotiaters. Now she’s threatening SAG. “It is no secret that we are in a deteriorating economy,” Lombardini said. “Our companies are not immune from the effects of this economic slowdown. It is very possible that, as a result of changing economic conditions, we will have to reevaluate the offer we have on the table.” However, someone needs to remind Lombardini in particular, and the AMPTP generally, that the Hollywood studios are having yet another lucrative summer movie season with nearly every film outperforming financial expectations, while the TV networks all enjoyed rate and overall revenue increases when they wrapped up their upfront dealmaking on advance advertising commitments for the 2008-2009 season. And though they all cry poverty publicly, heads of some of the studios and networks have told me their divisions contributed $1B in profits to the balance sheets of Big Media in 2007 alone.

Here is SAG’s statement:

Los Angeles, July 11, 2008 — The Screen Actors Guild national negotiating committee met behind closed doors throughout the day today discussing bargaining strategies. The negotiations team remains committed to continuing to bargain for a fair contract. “Our national negotiating committee did not, as has been erroneously reported, reject the AMPTP’s offer. Instead, we made a comprehensive counter proposal that adopted some of their proposals and offered alternatives on others. We significantly narrowed the gap between us while remaining committed to the principles of our bargaining priorities,” said Screen Actors Guild national executive director and chief negotiator Doug Allen. We will provide an additional negotiations update on Monday.

Here is the AMPTP transcript of EVP Carol Lombardini’s address to SAG at the end of yesterday’s negotiation:

I have been directed by all of the companies that are present here and the remaining companies represented by the AMPTP in these negotiations to respond to your reply to our Final Offer.

We thoroughly reviewed what you presented to us today. We are not surprised by your response given all of SAG’s recent statements in the press over the past few days. But we are disappointed. We are disappointed because either we have failed to convince you that this is the best possible deal you can achieve or, alternatively, because you continue to adhere to the notion that the package we have offered just isn’t enough for you, especially when comparable deals have been approved by writers, directors and actors.

It is important to be clear: What we gave you on June 30th was our Final Offer. It doesn’t get any better than that. That is the best deal you are going to achieve from us. At the end of any negotiation, both parties reach a crossroads where a tough decision needs to be made. Do we make this deal or not? I can tell you that, for us, this isn’t the best deal. There are many areas of our business that need to be addressed that this contract does not fix. But we believe, putting our wishes and desires aside, that this is the best deal we can achieve with you.

Without going into all of the specific details, as to economics, we believe we presented you an extremely fair and lucrative package, particularly given the economic times we live in. For example, the increase in the Major Role performer rate in the first year of this contract is close to 6%. That would be an outsized increase in any contract cycle, but given today’s economy and the size of increases in general in other labor agreements, this is a large bump. Adding more money to this economic package would not only be unjustified, it would be irresponsible on our part. Therefore, the money is not going to change.

As for the New Media blueprint, we have told you that we have analyzed, considered, deliberated and discussed all of your proposals and counterproposals dealing with new media. Of course, we will confirm the items that we clarified on July 2nd as part of a Memorandum of Agreement when we reach agreement. But we have also informed you that we have made all the changes and modifications to that structure that we are prepared to make in an effort to address your concerns. In our assessment, doing any more will harm the overall structure of the New Media framework that we have worked out with every other talent guild.

So where does that leave us? We understand that you want more. I’ve never participated in a negotiation where one side or the other doesn’t. But now you have to decide. You can accept this deal, hold your heads up high, knowing that you have achieved the best deal attainable. Or you can continue to refuse to accept our Final Offer.

If that is your decision, it would be inappropriate for us to allow you to leave here today without understanding the potential consequences of that decision.

First – Under this Final Offer, once the deadline passes without ratification, retroactivity is gone. That results in a smaller package than the $250 million of gains contained in our Final Offer. And of course, it gets smaller each passing day.

Second – It is no secret that we are in a deteriorating economy. Our companies are not immune from the effects of this economic slowdown. It is very possible that, as a result of changing economic conditions, we will have to reevaluate the offer we have on the table.

Third – There is no question that given the uncertainty of not having a deal, some feature productions will go on, while others will not. Each one that doesn’t go forward results in fewer jobs and lost earnings for you. The risks are even greater in television. Continued uncertainty over contract status further jeopardizes scripted programming. Once again, it all amounts to less for you.

The decision is yours to make. We encourage you to let the entire membership decide.

34 Comments

Every other strike for several decades past has resulted in demands that the Union keep working while negotiations continue. This appears to be what SAG is attempting to do. However, the rabble-rousers and shills now criticize SAG for doing precisely what people demanded in the past.

Clearly there does not seem to be any rational method to deal with the mega-corporations except the methods the Miners & Teamsters use. Perhaps it would be better to combine SAG and the Teamsters unions. At least the Animation Writers would get coverage that way. (For those who don’t have my sense of humor, that means that it would be funny to see the AMPTP group getting wedgies on YouTube.) &*)

Go for it SAG, Keep the “High Ground”. With 500+ Completion guarantees to Indie Studios, sooner or later the wedgies will start to discomfit the moguls. AND there are still jobs for BTLs. The Studios will eventually have to do something other than blustering about how their “lockout” is somehow SAG’s fault.

Till The Fat Lady Sings • on Jul 11, 2008 8:21 pm

Maybe SAG’s leverage wasn’t ruined AFTRA all. Let AMPTP blow all the hot air it wants. If SAG insists on a fair contract the performers might just surprise everyone and back them up. Then SAG can start asking all the AFTRA casts if they want to keep working cheap no-residual contracts, or come back home where they belong to a union who cares whether or not they can feed their families and qualify for health insurance. SAG could have all their cable and prime time jurisdiction back in under six months.

Watch out AFTRA – your 15 minutes are almost up. Pretty much every working actor in town hates you for selling us out. We didn’t vote up your crappy deal, your newscasters did. Almost no one who actually works wants you representing us. Go away.

Hank Hollyweird • on Jul 11, 2008 8:31 pm

Given their success in negotiating or non-negotiating, depending on which side of the fence you stand on, against the DGA, WGA, and AFTRA, why wouldn’t their arrogance get even stronger?

I’m one of the few who thought (and wanted) to stay out on strike when the WGA settled for what I considered was a bad deal. If we had there might be a willingness to talk on the part of the AMPTP now.

It was a mistake then–when the WGA caved (and there’s no real argument that that’s what happened–and it would be a bigger mistake now [for SAG] to sign a deal that was less than what is possible and fair. If SAG settles now, come next “negotiation” it’ll only get worse, and instead of gaining there’ll be losses in what’s already been negotiated over the years. And that’s a trend that no artist can let happen, we’ve all worked to hard to lose now.

notanewscaster • on Jul 11, 2008 8:46 pm

Stay the ground, SAG. Keep offering interim agreements to the independents until only the only ones locked out are the AMPTP, who, with any luck will eventually find gigs in the music biz. As for AFTRAMPTP, enjoy your time while you still have it and pay no mind to that giant, flaming ball of fire rapidly approaching the atmosphere. I’m sure everything is status-quo.

Intrigued • on Jul 11, 2008 8:55 pm

Hank,

You are wrong, the WGA should not have stayed on strike until now. Do you realize how many people that would have hurt financially??? They should have waited to strike until SAG’s contract expired so they could be united.

You are also wrong to suggest it would be a mistake for SAG to accept the current deal. The deal will not improve!!! The sooner SAG signs it the faster everyone can resume their normal lives.

coup De Tet! • on Jul 11, 2008 9:11 pm

Dave-

Teamsters don’t have jurisdiction on animation writers, IA does.

Till the far lady sings-
Who cares if everybody hates aftra? Are we running for Prom Queen here?

Nikki-The amptp attitude toward the media and you in particular is uncalled for and is not helping their case.

Everyone else-
Remember the air traffic controllers strike? It ended in a complete bust of the union. They were at an impasse and hired scabs. What makes you think a lockout won’t force them to hire AFTRA and scabs? Or just give performers a producer credit? Trust me they have already figured out how to keep productions going. Does SAG have a next move?

Meanwhile indymac, the largest bank in the world just folded. Sure the industry is seeing record opening weekends. But they spent record numbers on production and marketing. Profit margins aren’t widening they are become more narrow. That’s why con-gloms now own the once invincible studios. There was a time when everything was shot in the USA. Not anymore. There are better deals to be had elsewhere. Even with those better deals, the margins are shrinking. Don’t be fooled by large numbers. A number is only meaningful when compared to another number. 4 is meaningless until you say its 1 more than 3 and one less than 5. 135-mil dollar 4 day opening doesn’t mean anything if it cost 200-mil. It’s the margin stupid. Sure its good but its nothing like it used to be. Lets use two other numbers but put in a metaphor. At what COST is the SACRIFICE? What number do you apply to the word cost and what to sacrifice? It’s tough. How can you quantify hopes, wants, and needs, against anger, resentment and fear. You can’t. So we have to take that emotional stream out of the equation. Just look at the numbers. First you need the projected losses. These are clearly definable. They are based on todays contract. We know this. Then you need to contrast that to projected gains. These are speculative. We don’t know the exact outcome so the coefficient is variable. But we need a range to work with so that we can see the distance in the disparity. Has SAG done a projection? Can they share that with the membership? The members don’t need press releases from a PR Firm, they need straight answers. This is not a country its a union and everybody has an equal vote and an equal right to know. If they haven’t done a projection then they are incompetent. That raises other issues.

So which is it? Incompetent? Or can we see the SAG study and projections? Or worse, are we making our decisions based on emotion?

Please tell me that you are weighing these 11th hour decisions with more than just your gut feelings.

zackery • on Jul 11, 2008 9:50 pm

This Final Solution, or rather Final Offer–my bad– is so primitive, isn’t it? It sounds like an argument after the prom.

Correct me if I’m wrong, but isn’t giving a “Final Offer” with no consideration for discussion effectively saying we are not open to negotiations? The AMPTP has thinly veiled their position which is “WE WILL NOT NEGOTIATE.” (They’re meanies. Let’s tell everyone. Let’s give them those wedgies you speak of, and more.)

And while the specifics aren’t given of the offer I say let’s stand strong on money for this “new media.” Producers say they just don’t know the future of the internet, yet try to post your reel on youtube with a clip from a network show. The networks shut you down and make youtube pull the video as quick as you can get it up. (BTW, How do they know it’s up?)

Yet on places like CBS.com you can watch full TV episodes of current shows with commercials and all–and what to actors get? Like $1000 for internet use in perpetuity…or is it $300? I dunno. But that’s the future folks. And if we let residuals get away this time they will be gone to the internet forever. Because TV will be reconfigured to be internet we’re watching in short order, and Voila! Tom Hanks is making money and you’re applying for the job to rake the sand at his Malibu house. And I hear Rita is finicky. (You won’t get the job, by the way. Someone from somewhere else will do it cheaper.)

Who cares what WGA and AFTRA settled for–I’m up for a fight because the AMPTP are using sissy tatics and showing their true color: Yhello!

STAY STRONG SAG! Don’t be bullied by punk ass moves like Final Solutions.

btl teamster • on Jul 11, 2008 10:09 pm

wow…Carol Lombardini doesn’t play well with others.
It’s complete BS to use the economy as a reason to “sign on the dotted line”. Economies are cyclical, the Studios are doing fine, if they weren’t they wouldn’t be paying all those large CEO paychecks. Gas is high, the financials are sinking the market, the dollar is worth next to nothing… so, people turn to entertainment in troubled times, they want that brief escape. History backs this up. There are many ways Ms. Lombardini could have spun this statement, but her “fearmonger” tactics are laughable.
Having said that, SAG has really just mucked up their end of this mess.

Get • on Jul 11, 2008 10:17 pm

Well, I’m thrilled they pissed you off Nikki. It’s about fucking time some of these pro-AFTRA invertabrates saw the big fat pendulum swinging right back in their direction. “15 minutes” is right. Roberta Reardon came off like Condoleeza Rice in that radio “debate” with rosenberg, and don’t you just want her ice-ness to go down as much as you do Rice? And “Pat Skipper” I thought your post gave you away, and pointed up what the hell all these people supporting AFTRA over SAG are really about: The elites on the Hollywood board” Skipper called them, dismissively. It seems there is a rather large group of people – in Hollywood, in New York, and in the branches, both in AFTRA and in SAG, who just LOATHE SAG because SAG MEMBERS didn’t want to merge with AFTRA. TWICE! Our own (and I’m a dual card holder) President! – Melissa gilbert at the time, and lots of other people in both unions and on both boards, spent OUR money, millions of dollars of it, to convince SAG members they should vote for merger. “Membership First” was a fledgling group at the time, that was opposed to merger, and with a miniscule budget, comparitively, they put out THEIR message at the time “merger is NOT the answer. Making SAG leaner and ,eaner is, if fact, the answer. A union of actors, for actors, already known as THE SCREEN ACTORS GUILD. And the MEMBERSHIP, not the hated “Membership First” faction, but the MEMBERSHIP listened to the endless shilling for merger, and turned around and voted “FUCK NO”- TWICE. THAT’S what a lot of this is all about. Instead of taking the loss(es) as professionals and undderstanding that the membership had spoken, they continued to harbor deep-seated grudges against any and all they perceived as “interfering” with their plan, their dream, their “fuck you elitist SAG VICTORY!” And when you read the comments of so many AFTRA shills on this site, the M word comes out, again,. and again, and again. “If we’d merged,” “when we merge,” etc., etc.

Well, I got news for you folks – WE’RE NOT MERGING. the SAG members are starting to wake up, they’re starting to see the shit AFTRA pulled, they’re starting to realize how fucking pissed they are at AFTRA and their leadership for cutting the chair out from uinder SAG, pulling a hostile takepver type move, but NOW? Now, the SAG membership is slowly starting to come around. They were tired, burnt from the WGA strike, from walking the walk for the writers (again – where the fuck ARE YOU WRITERS? I know there’s no picket line to walk yet, but you could, you know WRITE a thing or two supporting the union that supported YOU? Your leadership could come out PUBLICALLY and state “SAG’S fight is the WGA’S fight – like SAG did for YOU?) but now? Now they’re beginning to get in touch with their inner SAG and they’re not fucking happy at what AFTRA’s done. And the stretching out of the negotiations? Well, SURPRISE! – it seems the only answer the AMPTP has for it right now is threats and bellicose public statements. But, SAG is beginning to find – they don’t have to put it to a vote. There’s NOTHING forcing them to put ANYTHING to a vote folks. They can wait, and wait, and keep saying ‘we’re here to negotiate, and when you give us a deal we think is good enough? THEN we’ll put it to a vote. And what can the AMPTP do? ZIP. Oh, sure, weeks down the line, frustrated by those little fucking actors and their weak ass fucking annoying piece of shit union (think that’s NOT what the suits think? Of course it is)they CAN lock us out, but ooh, not so good, then the public story shifts “the workers are being locked out of the factory? That’s not right.the suits are depriving people from making a living? Well, why? THEN the public styarts to actually pay attention to shit they haven’t given a seconf thought yet – like some of the details – “oh, they fucked them on DVD residuals #) YEARS AGO? – and they LIED TO THE when they said thet’d come back to it and give them a raise from a ridiculously low rate SAG agreed to cause the suits at the time said ‘trust us- we;re in this together’ – then the producers reneged and laughed at them for 30 years? You mean the producers want to give them a token rate for on-line work and for residuals off ACTOR’S work? Actors live off residuals? Really? I never really knew that till NOW. Hmmm. These producers seem like a bunch of manipulative lying ASSHOLES, and, based on what I’ve read about the AVERAGE salary for the actors, they DON’T make big money, only some STARS do – including TOM HANKS, by the way, he betrayed his union,m SAG? Hmm, I didn’t know that.” It goes on and on, and it only gets worse. If there was ANY truth to the spin that SAG is holding up the AMPTP for ANYTHING that wasn’t entirely reasonable and fair and LONG overdue, maybe, as this thing SSSTTTRRREEETTTCCCHHHEEESS out, there would be resentment against SAG and the SAG actors slowing down the process. But when the public begins to come around to the truth? – AFTRA betrayed SAG, their “sister” union, and the AMPTP is made up of a bunch of bottom line, step on you mother’s back for a profit, douchebags, what then? Hmmm. maybe we need to make a deal after all, give these annoying fuckers what they want, cause they’ve got some brass balls and they’ll hold out cause they’re tired of being treated (the middle class actor mind you) like SHIT by producers, and spoken of like lobotomized cattle by producers and told what to DO and WHEN and WHERE like little snot nosed children by the producers, maybe then? this whole fucking thing bloews up in these assholes faces. don’t poke the tiget too many times fellas. the tiger is starting to wake up, and he’s in a bad fucking mood.

peggy • on Jul 11, 2008 10:39 pm

AMPTP, such children. Withholding info from Mom. What a compliment. They can’t even release a transcript without fucking it up. Is that the best they can do? Next thing you know Nikki they’ll send a PI to bug your email. Where’s Louis B. Mayer when you need him? AMPTP should dig him up and get some tips on how to play dirty.

Melanie • on Jul 11, 2008 10:41 pm

“The risks are even greater in television. Continued uncertainty over contract status further jeopardizes scripted programming.”

Hmm. Not just threatening SAG — sounds like they are threatening the audience.
AMPTD you’ve already lost something like 15% of your viewing audience. Don’t let American Idol and Dancing With the Stars fool you. Reality TV will not sustain you again.
Whether you like it or not — you do need those pretty, talented people and the clever words they say. They are why we watch.
Stop posturing and negotiate.

victoria • on Jul 11, 2008 11:04 pm

SAG needs to act like the Big Dog for once and say “This is our final offer. If you want us, then this is what we need.” End of story. Man, stick to your guns people.

Writer Bob • on Jul 11, 2008 11:09 pm

Hey “Get,” while I obviously can’t speak for EVERY member of the WGA, the writers are here. And the all the writers whom I know personally, both on my show’s staff and outside of it, back SAG 100 percent. We will do whatever is asked of us to support your getting a better contract, including picketing. (Yes, contractually we can’t walk off the job, but we can structure our work days to join you on the line.)

Hang tough, SAG. You are not alone.

keven with an "e" • on Jul 11, 2008 11:57 pm

why don’t they webcast the negotiations so there’s none of this hearsay?

there are so many ways for this to go more smoothly.

In fact, i will set up the webcast free of charge.

Bill • on Jul 11, 2008 11:57 pm

Bravo Get – well said!!!!

Kevin • on Jul 12, 2008 12:46 am

Writer Bob,

Does your post mean that you admit that you would need to cross a SAG picket line either in fact or in spirit because of your contractual obligations? During the WGA strike, you were openly abusive here toward people here who respected the picket lines but also did not walk off their jobs. Your position would seem to be a bit hypocritical given the history.

SAG needs to play dirty and fast. You’re playing for keeps here and it’s not a fair fight. AFTRA and the AMPTP have played filthy games here and now is NOT the time to stay on the high road.

Utilize all that professional actor anger for our benefit. Use that pricey pr firm ( that you got way too late ) and run some ad’s showing AFTRA giving away residuals. Show AFTRA leaders watching tv on the internet for FREE !

AFTRA played every dirty trick in the book in order to protect pensions that could be snatched by the IRS due to the extensions in payments owed to ERISA. They dirty dogged the actors to spare a vested few at the top. Shame on them! And shame on AMPTP making like threatening or punishing us will make us change our minds. Well, we won’t. It will be AMPTP crawling on their hands and knees when they realize just how much power the actors really have. Let the greedy pigs sweat, no matter how long it takes. Rock on, Alan and Doug. Don’t walk away from this. The union is counting on you guys to hang tough and make some changes in this town. Besides, how else are we going to be able to show Tom Hanks that you should NEVER abandon the union that gives you your wings to fly? He’s a traitor and the actors know it!

IA 798 Member • on Jul 12, 2008 6:46 am

How about this: Over the last year, a well-established East Coast soap opera ( AFTRA )- started doing a fair percentage of remotes.
Producers do not allow the IATSE Local 798 Make-up Artists and Hairstylists Staff to manage their departments and assign appropriately qualified personnel to cover.
Producers hire NON-UNION Make-up and Hair folk who are ill equipped to maintain the integrity of the characters ‘looks’ because they ( Producers) do Not pay P&W – and ‘offered’ to Union members the job for wages only!
Apparently a member ofthe Wardobe Local accepted the deal – SHAME!
The actors are AFTRA, of course.
AFTRA backed Producers have held firm to the disgruntled feelings of those Actors who Know their character looks are compromised and to the IATSE arbitrators who tried for resolution without playing hardball.
They /Producers/ stand on technicalities, but it smells like Union Busting to me –

TO: ALL WRITERS • on Jul 12, 2008 8:16 am

TO ALL WRITERS:

Writers: You guys did a masterful job of putting up really effective things on You Tube during your strike, and Actors played the roles you wrote – it was terrific, and quite effective.

CAN WE DO IT AGAIN? Can the writers put their heads together and create more of your wizardry to help us support our efforts in these negotiations? PLEASE?

Sincerely,

SAG PERFORMERS

Writer Bob • on Jul 12, 2008 9:42 am

Kevin,

You misremember. Perhaps you are confusing me with Jake Hollywood or BTL Teamster from the same thread, about whom “abusive towards people who… did not walk off their jobs” could more readily be said.

Mark • on Jul 12, 2008 10:13 am

I’m on Get’s side, despite the barely readable endless manifesto with scant paragraph breaks, but his position would have more strength without the superfluous cussing, and sexist remarks.

peggy • on Jul 12, 2008 10:39 am

To SAG PERFORMERS:

You got it. Tell us who to contact.

Corrections • on Jul 12, 2008 11:06 am

COUP DE TET! wrote: “But they spent record numbers on production and marketing. Profit margins aren’t widening they are become more narrow. That’s why con-gloms now own the once invincible studios. ”

Um…sorry, you got that ass-backwards. Con-gloms are inherently financially conservative. The reason they now own these studios is because they have become MORE of a sure thing, not less.

Raymond Forchion • on Jul 12, 2008 11:33 am

Here’s why SOME OF US ACTORS ARE SO ANGRY!!!!

It’s really difficult for people who haven’t actually MADE A LIVING as an actor under these contracts to grasp what is being lost. Most who SAY they make a living as an actor are really supplementing their income with acting jobs. NOT the other way around. I’ve been a SAG member for thirty years, AFTRA for less. In SAG I’ve only had about eleven or twelve years where I didn’t need some other form of income to let me live a life that was even reasonably comfortable. When you open the mailbox and have a check for three thousand dollars on a movie that you had rerun on the network… THEN you know what I’m TALKING ABOUT! Now you feel the decline. Many HAVEN’T had that experience. It’s like people who never got a quote… they don’t know what it’s like to LOSE it…

NO WONDER WE’RE TICKED OFF…

These things were hard fought for and USED TO BE an income we could SURVIVE on. I remember getting that 100 percent residual check on the first rerun. Not having to wait for ten runs… Someone is making money from runs 2 thru 10. Why should we not share in that? We are crucified if they stop at run 9.

So much of this is A PASSION for most actors. They FEEL as good doing a SHORT for the 48 Hour Film Festival as they do a Feature for Paramount.

It’s all WORK, but it’s NOT the same.

The business is making us feel that it is the same, but it’s NOT. Actors delude themselves. One is a labor of LOVE and the other is a labor hopefully of LOVE AND PROFESSIONAL LIVELIHOOD. We MUST fight to maintain that LIVELIHOOD, and not give the billion dollar corporations TOO much sympathy. They aren’t taking the paycuts. They aren’t saying, “look here’s a million of the thirty million I will make this year choosing which scripts to shoot, put it toward P&H for the actors I’m paying less and less to, so that they can be taken care of in sickness or old age.” In a way the old studio system had it’s merits for those lucky enough to be signed.

The WORKING ACTOR ?… The VAST MAJORITY of WORKING ACTORS find the state to be QUITE TRANSITORY. Today’s LEADING MAN or WOMAN is tomorrow’s cameo. George Clooney addressed that issue quite well in his marvelous letter to the industry a few weeks ago. YOU MAY NOT NEED THE UNION NOW… but… YOU MAY NEED IT AGAIN IN THE FUTURE. The Greatest Film Actors who ever LIVED found that out… It’s why they got together to Form a UNION to protect them in times of ADVERSITY. They knew they couldn’t each go it ALONE. Sometimes though… the members may need to PROTECT their UNION as much it PROTECTS THEM.

Wow! What a business we have chosen. Or have we. That’s why more and more of us are putting on different hats. We HAVE TO in order to SURVIVE. Fewer and fewer of us who USED TO make a living as an ACTOR, can do so now. We therefore become ARTISTIC HYPHENATES, producers of our own product and compete with ourselves. Our hundred thousand dollar low budget picture airs opposite the $150 million dollar blockbuster we shot last summer. One will pay us far more in residuals than the other. But as a producer, perhaps we can own a larger piece of a smaller whole. It becomes the economy of scale. Though most of the distribution outlets that pay enough to make it worthwhile for our investors, are run by the same corporations that negotiate with us as actors. Their accounting systems are structured to hide bottom line profits Profits always need to be DEFINED under that system. It’s an absolute fight. I think I remember Michael Douglas on the AMC Show, HOLLYWOOD SHOOTOUT, saying that every audit he’s ever had to do of a major studio paid for itself.

We are ALL looking for a more PROFITABLE PARADIGM… both LABOR and MANAGEMENT…. These are HARD ECONOMIC TIMES with a rapidly Changing LANDSCAPE!!!! These waters need to navigated very carefully with vision and creativity, but also strength, fairness and a little more backbone…

DO I HAVE ALL THE ANSWERS? HELL NO… NOT YET… BUT I’M NOT UNWILLING TO ASK SOME QUESTIONS….